With their conceptual sleek displays, design exhibitions often invite us to immerse ourselves in abstract or avant-garde concepts, but, for "Oltre Terra. Why Wool Matters", Italian design studio Formafantasma opted instead for another approach.
Opening later on this month at Oslo's The National Museum of Art, Architecture and Design, the exhibition (26 May - 1 October 2023) delves deep into the rich tapestry of history, ecology, and the global dynamics surrounding the extraction and production of wool, but it does so in an innovative way.
While "Oltre Terra" is the first design exhibition in the new National Museum, in a departure from more conventional presentations, the showcase eschews traditional design objects, embracing a cross-disciplinary approach and beckoning visitors to embark on a journey of discovery through agricultural and cultural objects, photographs and videos.
Some of the images and films accompanying the event evoke Virgil's bucolical atmospheres and pastoral settings, but there is a more specific reference to the Latin language in the exhibition title.
"Oltre Terra" is the literal Italian translation of the term "transhumance", a combination of the Latin words "trans" (across, "oltre" in Italian) and humus (soil, "terra"). This word refers to the tradition of shepherds that guided their flocks through seasonal cycles, moving livestock from one grazing ground to another according to the resources available.
Yet, in our world of continuous transformations and collaborations, this ancestral tradition hints at a different form of "transhumance" and at the possibility of "crossing grounds" and acquire a transdisciplinary attitude.
The latter defines the show that was actually developed through dialogues with an eclectic ensemble of visionaries, among them designers, artists, anthropologists, evolutionists, legal experts, curators, shepherds, musicians, and farmers.
This collective experience tells the tale of this versatile fiber, with a journey that starts 11,000 years ago when hunter-gatherers, in their perpetual quest for sustenance, embarked on a new path that forever altered their relationship with the natural world.
No longer content with simply hunting and consuming the wild sheep that roamed the land, they began to follow and tend to these creatures, gradually forming a bond between human and animal that would shape the course of history.
This profound transformation was not a one-sided affair, but a matter of co-evolution and mutual creation: while humans provided the sheep with sustenance and safeguarded them from predatory threats, the sheep, in turn, offered their precious wool. This transformative "discovery" set in motion a series of events, advancements and societal changes.
To tell this story, rather than opting for more ordinary conventional displays about the rich heritage of wool from ancient civilizations to modern innovations, Formafantasma went for thought-provoking presentations.
The traditional diorama found in natural history museums was readapted in this exhibition to feature six life-sized replicas of diverse sheep breeds.
A variety of objects and materials completes each display, from a 1,700-year-old tunic, to the frightening Sardinian black sheep skin Mamuthones costumes complete with carved dark wood masks and large cattle bells on the back to scare away the evil spirits, plus paintings, documents and commissioned videos by artist Joanna Piotrowska, and by Formafantasma, who also focused in their research on the textile industry in Italy and on the "cenciaioli" (rag dealers) in Prato.
At the centre of the exhibition, visitors are invited to relax on a large carpet made from discarded wool fibers, the by-products of manufacturing processes, and consider the myriad of possibilities offered by wool.
In previous exhibition and projects, Formafantasma explored e-waste, the possibilities of volcanic lava, and even carried out an investigation into the intricate web of global governance surrounding the timber industry.
With "Oltre Terra", the design duo conduct an artistic exploration through a series of studies and interviews as well (the background material for this exhibition is available on their site and features a wide range of books and essays about history, politics, sustainability and social issues as well, so check it out when you have the time as the duo put together an impressive, inspiring and useful bibliography).
These materials challenge our preconceived notions and beckon visitors to delve into the intricate tapestry of our natural and built environments, embracing the interconnectedness of all living beings and transcending the categorizations that segregate humans from animals and products from the realm of biology.
The exhibition celebrates indeed the transformative power of wool, conceived as a material to weave tales of laborious craftsmanship, but also as the binding force between diverse industries, disciplines, and arts, with each strand inviting us to explore the profound connections that unite us all in our shared journey.
Image credits for this post
1. Joanna Piotrowska. Tactile Afferents, 2013. Still from film.
2. Formafantasma, Transhumance path in the Alps, 2023. Still from film. Photo: Gregorio Gonella.
3 and 4. Formafantasma. Digital elaboration of 3D scanned sheep and mouflon bones, 2023.
5. Recycled wool, Prato, Italy. Photo Alessandro Celli.
6. Formafantasma, Cenciaioli, Prato. Still from film.
7. Formafantasma, Mamuthones mask, 2023, Mamoiada, Sardinia, Italy.
8. Photographer unknown, 'Lady Elizabeth', Sydney Sheep Show, 1937, New South Wales, Australia, Powerhouse collection.
9. Joanna Piotrowska. Tactile Afferents, 2013. Still from film.
10 and 11. Formafantasma, Transhumance path in the Alps, 2023. Still from film. Photo: Gregorio Gonella.
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